Victor Wooten - Theory is Simple

The first time I saw this I didn’t understand any of it. I still think he’s overstating how easy it is. Easier than how it may be traditionally taught, but still not easy.

I am, at least, now able to understand the language he’s using. This means I am one step closer to understanding the application and that is thanks to @JoshFossgreen and BassBuzz.


He sure has a point - I mean, he is Victor Wooten, right :grin:

The reason most people say 12(24) is that the circle of fifths has 12 positions (like a clock face), with C major at the 12 position. So, when you get to the 5, 6, and 7 position, there are typically two major keys sitting on each of those positions (instead of one on all the others). That is because of enharmonic equivalence. On the 6 position, you have F# major (6 #s) and Gb major (6 bs), on the 7 position you have Db major (5 bs) and/or C# major (7 #s), and on the 5 position you have B major (5 #s) and Cb major (7 bs). Each of these pairs “sound” the same, but, yes, they are conceptually different, which is way you might want to familiarize yourself with each of them.

For practical reasons, I would rather have to deal with 5 sharps than 7 flats, but - especially classical musicians - will tell you it gives a different feel (and sound) to write and perform something in Cb major than B major. But that is getting perhaps just a tad too philosophical for me…

Now, let’s go and find all those C flats on our fingerboards :grin:And don’t miss those F flats as you play the C flat major scale :crazy_face: